Friday, October 8, 2010

Image Enlargements Tool PhotoZoom Pro 3

Resize your images now no matter. PhotoZoom Pro 3 creates image enlargements of unequalled quality. PhotoZoom Pro 3 beats any of the alternative solutions, such as Photoshop's Bicubic technique, fractal-based methods, and so-called 'industry standards'.

Higher Quality: Equipped with S-Spline Max, the latest generation of BenVista's patented S-Spline algorithm, PhotoZoom Pro 3 creates image enlargements of unequalled quality. PhotoZoom Pro 3 beats any of the alternative solutions, such as Photoshop's Bicubic technique, fractal-based methods, and so-called 'industry standards'.

Truly Any Size: Where competitors fail to get past 300000 by 300000 pixels (or even much lower), PhotoZoom Pro 3 enlarges images up to 1 million by 1 million pixels. No other product offers this capability, let alone with preservation of image quality.

Fits into your Workflow: BenVista does not intend to dictate how you should fit PhotoZoom Pro 3 into your workflow. Therefore, the software works not only as a stand-alone application, but also as an Automation plug-in and Export plug-in for Photoshop.

Choice: Although S-Spline Max has proven to be the optimum technique in most tests, PhotoZoom Pro 3 also offers two other excellent S-Spline techniques. You can choose which you like best. You can even fine-tune each technique to your personal liking, and save your favorite settings so you can use them again later.

Image Support: PhotoZoom Pro 3 perfectly meets the requirements of the professional user when it comes to image support. It fully supports color spaces like RGB, CMYK, Grayscale and Lab, just like metadata of the types EXIF, IPTC, XMP, and ICC profiles. Also, PhotoZoom Pro 3 supports layers, 16 bits/channel (including Raw) and 32 bits/channel (HDR) images and, last but not least, a very wide range of image file formats.

Conclusion: PhotoZoom Pro 3 is the ideal solution for enlarging digital images, both for printing and on-screen purposes. Besides enlargements of unequalled quality it offers various professional functions and features, and can be easily fit into anyone's workflow. PhotoZoom Pro 3 is an absolute must-have for both professionals and serious amateurs who want to resize their images.


Product Windows Mac
 
Professional Imaging
PhotoZoom Pro 3
Perfect photo enlargements
Version 3.1.0, release date: May 17, 2010
Windows Download Windows version
Mac Download Mac version
 
Home Photography
PhotoZoom Classic 3
Outstanding photo enlargements
Version 3.0.4, release date: May 18, 2010
Windows Download Windows version
Mac Download Mac version
PhotoArtist 2
Turn your photos into art
Version 2.0.6, release date: Jan 23, 2009
Windows Download Windows version
Mac Download Mac version
PhotoMagic
Complete Photo Software Suite
Version 1.2.8, release date: Nov 7, 2007
Windows Download Windows version
Mac Download Mac version

Tuesday, September 28, 2010

Adobe Photoshop Lightroom 3 Features


Create incredible images that move your audience. Experiment fearlessly with state-of-the-art nondestructive editing tools. Easily manage all your images. And showcase your work in elegant print layouts, slide shows, and web galleries, as well as on popular photo-sharing sites. All from within one fast, intuitive application.
Adobe Photoshop is now so firmly entrenched in our collective consciousness that it has become a verb - the expression 'to Photoshop' an image is now commonly accepted to mean digital manipulation of any kind, using any software.
The problem, from the point of view of many enthusiast photographers, is that Photoshop is now so huge, so complex and so all-encompassing a piece of software that the majority of its functionality is obscure, or at least remote from their immediate requirements. It is also extremely expensive, and currently retails for $999 - more than a lot of consumer-level DSLRs.
A cut-down version of Photoshop CS5 does exist, and Adobe Photoshop Elements 8 is an excellent piece of software at a good price. However, like CS5, Elements 8 (and its predecessors) is still primarily a space in which to perform complex, pixel-level adjustments to individual images. Although significantly less bloated than the full version of Photoshop, Elements still offers more functionality than a lot of photographers - and ironically many professionals ever really need. And this is where Photoshop Lightroom comes in.

Features 

Superior noise reduction new 

Achieve amazing, natural-looking results from your high ISO images with all-new state-of-the-art noise reduction technology. You won't need more than what's built into Adobe® Photoshop® Lightroom® 3 to get the cleanest images at any ISO.

Accelerated performance new

Get your digital photography tasks done fast and have more time to shoot and promote your work. Already quick performance has been dramatically accelerated in Lightroom 3, saving you time from first look to final image.

Lens correction new

Quickly and easily perfect your images by automatically reducing lens defects like geometric distortion, chromatic aberration, and vignetting with single-click profiles. Even images from the best lenses will be improved

Support for DSLR video files new

Take advantage of new support for video files from most digital SLR cameras, which allows you to easily manage and organize both still photographs and video files side by side

Image watermarking new

Easily embed your identity or your brand and logo in your images with more options for customizing their look. The new watermarking tool lets you apply text or graphic watermarks to a photo with adjustable size, position, and opacity.

Tethered shooting new

Instantly import and view images as you shoot them with tethered capture, available for select cameras. Use it to make an immediate, highly detailed check of your shot, the lighting, or the shooting setup. Or get instant feedback from clients or subjects.

Film grain simulation new

Use new sliders to easily control the amount, size, and roughness of grain that you can add to your images to simulate the look of film.

Download a free trial of Photoshop Lightroom 3


Sunday, September 19, 2010

How To Process A RAW Image File

RAW isn't for everyone or every sort of photography. In the past, I often hesitated recommending the RAW format for general use because the increased file size caused problems in storage, camera speed and processing effectiveness. That cost wasn't necessarily worth it because of the great results that are possible with JPEG.
RAW bestows you control over the image that isn't possible with JPEG, however. It's a valuable format worth considering by any photographer. Nowadays, cameras have become much faster, computers no longer choke on big files, and you can purchase cards with enough memory to allow you to shoot RAW+JPEG for a reasonable price. RAW+JPEG is a great solution, as it lets you gain the most from both formats.

RAW Done Smart
When you begin working on a RAW file in a RAW converter, you're dealing with the best data possible from your camera. For that reason, you should make as many of the major adjustments (brightness, contrast and color) to your image as possible in that converter.

To get the most from your file, you need to do those adjustments smartly. It's important to remember what your photograph is about and why you took it, as this will influence your choices. Arbitrarily adjusting an image based on some sort of "objective" criteria will sooner or later get the photographer into trouble with an image or, at the very least, lead to less than pleasing results. You need to know the purpose of the photograph and make adjustments that support its cause. 
There's no need to overanalyze every photograph you take before opening your image in the RAW converter, as that would be counterproductive. You do need to respect your photograph, however. Using your computer should be about getting the most from your image, not getting the most from the software. The photograph and the photographer should come first.

Auto Settings
When Camera Raw is first opened in Adobe Photoshop CS2, all of the auto settings are turned on by default. The auto settings work, but with varied amounts of success on different photos. You always can adjust any individual auto setting to see if it helps (and sometimes it will).

It seems odd to me, though, to use auto settings for Camera Raw, since this is the epitome of control. Auto settings relinquish your control and allow mathematical formulas to decide what your photo should look like. I highly recommend you unclick all of them, then choose Save New Camera Raw Defaults in the drop-down menu at the right side of the Settings box.

Workflow Options
Once the image is opened, I start at the bottom left of the Camera Raw interface and begin my adjustments from there. Make sure Show Workflow Options is checked.

1. Space. In the drop-down menu of color spaces, I recommend using Adobe RGB (1998) or sRGB (you're always safe with Adobe RGB). Adobe RGB gives the wider color gamut, which can be effective with many photos. You can click back and forth between these two color spaces for comparison.

2. Depth. You have a choice of 8 or 16 bits per channel. This output choice won't affect what you're doing in Camera Raw as the processing is done at the 16-bit level. For most images, outputting at 8-bit is plenty (16-bit largely increases file size).

3. Size. Start with the native file size that your camera produces by selecting the numbers without a plus or minus sign (plus means the file will be increased; minus will decrease the original). If you know you need a large file from your photo, this is a good place to upsize your image.

4. Resolution. This has no effect on image quality, but is here purely for workflow reasons. Output resolution only changes how close or far apart the computer places pixels and doesn't affect their quality. This can be changed later without any harm to the photo.  

Tonal Adjustments
The brightness or darkness of a photo and its contrast have a great impact on how it's perceived by a viewer. Color obviously also has a big effect, but I find it better to start with tonal adjustments unless there are color problems. Here's how to work the tonalities in an image:

1. Highlights. Under the Adjust tab, hold down the Alt or Option key and click on the slider for Exposure. As you move the slider, the bright or colored areas represent highlights. The white is pure white with no detail. Move the Exposure slider to the right to increase bright areas, left to decrease. Click on and off or toggle the Alt/Option key on and off to see how these areas relate to the whole image. This is subjective, but generally you want at least part of your subject bright in most photos.

2. Shadows. Hold down the Alt or Option key and click on the slider for Shadows. Move the Shadows slider to the right to increase dark areas, left to decrease. The black or colored areas represent shadows—the black is pure black with no detail. Again, try clicking on and off or toggling the Alt/Option key on and off to see how these areas relate to the whole image.

3. Midtones. Making the highlight and shadow adjustments usually will make the image too bright or dark overall, even though the shadows and highlights are right. To correct this, move the Brightness slider right or left. This adjustment is even more subjective than the others and is totally a matter of taste. Use a calibrated monitor for best results. A brighter image will let you see more details, but it can lose some of the drama of a darker photo. Don't hold down any keys for this adjustment, however. It also can be useful to try the auto setting here.

4. Midtones 2. If you have Camera Raw from Photoshop CS2, you'll notice a new tab, Curve. This is an excellent tool to deal with midtones, with much more control than Brightness. Under Curve, Tone Curve works the same as Curves in Photoshop ("tone curve" is probably a better name for the latter, but two names for the same thing is confusing), but it comes with some premade adjustments (click on the drop-down menu). You can use the premade adjustments, tweak them or do everything yourself by clicking and dragging points on the curve.
5. Contrast. Back under the first tab of adjustments, you'll see this slider. It affects the overall contrast of the image, but is a bit too heavy-handed for my taste. You gain better control of the contrast by separately adjusting the highlights, shadows and midtones. Most of the time, you can leave it at its default.

6. Compare. It helps to see how the image has changed from how it came into the program. Go to Settings and click Camera Raw Defaults in the drop-down menu to see how the image originally looked, then back to Image Settings to see it now. If you find you've lost something in comparing the two, readjust the image. You can reset the whole thing by holding down the Alt/Option key and clicking on the button that now says Reset at the lower right.
Keep in mind that small adjustments can make a big difference. I often wish this interface had two sliders for each control—one that had the overall adjustment and another for finer tuning. Since it doesn't, realize that small changes can be sufficient. If you have trouble making a small enough adjustment, you can type in new numbers in the box above the adjustment.
Color Adjustments
The color of an image is a tricky thing. A sunset image has a natural color cast, for example. On the other hand, some photos demand a neutral tonality with no color cast at all. Camera Raw lets you do both. You even can tweak whatever color you do have in five ways:

1. White Balance. The White Balance box acts a little like your camera's white-balance settings. You can choose from a number of white-balance presets to jump from one overall color to another.

2. White Balance Tool. This tool will change your cursor to an adjustment tool. Click on something in the photo and it will make it neutral gray. If you try this tool, you always can go back to your earlier "as shot" colors by double-clicking on the tool in the toolbar or using the As Shot choice in the White Balance box.
3. Temperature. The Temperature slider allows you to tweak the image by adding warmth (moving the slider to the right) or adding coolness (moving the slider to the left). For the technical-minded, what you're doing is changing the color temperature setting relative to the original color temperature of the scene as captured. The result is a warming or cooling of the photo.

4. Tint. This is a magenta/green scale that adds green to the photo as the slider is moved to the left and magenta as it's moved to the right. Unless you're after some special effects, it's rare to use large amounts for this adjustment.
5. Saturation. Skip down the interface to find Saturation at the bottom. This is another highly subjective control, and you have to be careful with it. A little addition of saturation (the intensity of a color) goes a long way. A common mistake of many photographers is to increase saturation too much so that the image either looks garish or doesn't reproduce properly outside of Photoshop. That said, many subjects, especially nature, sky, architecture and travel, look better with a slight addition of saturation of 5 to 10 points. With people pictures, it's best to use caution, as the saturation control can make skin tones look unnatural at best and blotchy at worst.

6. Recheck the file for possible readjustment. At this point, I usually reevaluate the overall brightness of the image and either do further tone curve adjustments or Brightness slider adjustments. Since nothing actually has been changed at the image's pixel level, you can adjust and readjust the controls in Camera Raw to your heart's content without hurting your image as it has yet to be converted.

Detail Adjustments
I always check noise issues in an image. In the Detail tab next to the Adjust tab, you'll see three adjustments (CS2 version): Sharpness, Luminance Smoothing, and Color Noise Reduction.

1. Sharpness. Sharpness should be set to zero (it's best not to sharpen the photo at this point in the process).

2. Luminance Smoothing. This affects the general noise that comes from a sensor and may be seen in skies and other smooth tones.

3. Color Noise Reduction. This affects color noise that often comes in dark parts of an image, especially when that image is underexposed.

To use CS2's noise-reduction settings, greatly enlarge your image so you can see any noise. These noise-reduction settings aren't used to get rid of problematic noise, but to reduce normal levels of noise so that the image goes into Photoshop with the highest quality possible. If you use higher settings, check your fine detail to make sure you haven't caused problems with them. With really high levels of noise, you're better off using software programs specially designed to deal with noise problems, such as Noise Ninja, Kodak Digital GEM or nik Multimedia Dfine. 
Save Your Work
The default for Photoshop CS2 is to automatically update your adjusted RAW file's thumbnail in Bridge, which is CS2's image browser. This isn't a permanent change—actually, nothing at all is altered to the image file itself, only the instructions about processing this file have been changed so that it will reopen in Camera Raw with these settings.
To keep this photo with its adjustments, you have several choices at the bottom right of the Camera Raw interface: Save, Open, Cancel and Done.
1. Save lets you save your adjusted image as one of four file types: DNG, JPEG, TIFF and Photoshop (PSD). Plus, it gives you some choices as to how to save these files, such as the location and a new name.

2. Open simply applies the settings on your photo as it converts it to the Photoshop working space. This is the most common use of Camera Raw.

3. Cancel simply cancels everything and returns you to Photoshop.

4. Done merely updates the metadata of the file and returns you to Photoshop without actually opening or saving the image.

Finishing
You'll usually do your finishing work in Photoshop. Raw converters don't let you work selectively on an image, so you must use Photoshop for that. You'll do final tweaking of tones and color, and sharpen the image.


Editor Rob Sheppard's latest book is Adobe Camera Raw for Digital Photographers Only. You'll find his new Website at www.robsheppardphoto.com, which features photo tips and more.


Sunday, August 1, 2010

PhotoTools 1 Professional Edition - Full Version

Whether you are new to photography and have never experienced the darkroom or you are an experienced pro who has mastered photography you will appreciate the range of authentic camera, filter and darkroom techniques reproduced with PhotoTools 1.0 Professional Edition. PhotoTools 1.0 Professional Edition contains 250 effects by Jack Davis, Kevin Kubota and onOne Software that faithfully reproduce camera filters like neutral density, color correction and polarization as well as darkroom techniques and alternative processes like solarization, cyanotype and more. You can even simulate the look of different films with the a wide range of grain and contrast effects.

The key to PhotoTools 1.0 Professional Edition is its unique ability to provide full-screen previews of an effect on your image before you choose to apply it. But it isn’t just a single effect, you can stack multiple effects on top of each other just like you would camera filters. You can control the order of each effect and how they blend together for a truly unique look. You can even save your effect stacks so you can repeat them easily and even share them with your friends you have PhotoTools.

PhotoTools 1.0 Professional Editions Feature:

* Preview Photoshop action effects before applying to original
* Combine multiple effects together in a layered stack
* Adjust the strength or opacity for each layer in a stack
* Save layer stacks as presets for future use
* Batch process effects on multiple photos
* Apply effect with a layer mask for additional editing
* Base set of 150 effects from onOne and Jack Davis
* Additional 50 effects from Jack Davis
* Additional 50 effects from Kevin Kubota
OnOne_Photo_Tools_1.0_3.rar (Size: 50217 KB)

Download (NEW LINK!) :
Code:
http://hotfile.com/dl/53548057/fd3551b/OOS-PhotoTools-V1.0.3-ProFP.rar.html

Tuesday, July 27, 2010

Topaz Clean is a Photoshop Plugin

Topaz Clean is a Photoshop Plugin that will help you smooth and add gripping, one-of-a-kind enhancements to your photos. Experience a wide range of effects from highly effective edge sharpening to graceful artistic effects that leave viewers breathless.

» Create many kinds of artistic effects like artistic detail removal and edge stylization
» Take full artistic control over image edges and texture
» Apply high-quality detail manipulation and sharpening
» Clean portraits and skin without losing important detail

Powerful Stylized Image Cleaning
Take control of the extensive smoothing capabilities of the new Topaz Clean 2 Photoshop plug-in to add gripping one-of-a-kind enhancements to any photo. Experience a wide range of unique effects from highly effective edge sharpening to graceful artistic effects.

Smooth and Unique Edge Manipulation
Topaz Clean's unique edge detection and smoothing functions give you the ability to create some very interesting effects. Give images unique edge effects that adds an extra punch to the photo. The well-defined lines in this forest photo worked perfectly with Topaz Clean 2 to create a smooth and silky image effect.

Highly Selective Texture Control
Take highly precise control over the manipulation of texture and detail. Choose the nature of desired texture and let Topaz Clean 2 do the rest. This portrait was done using the 'SkinEven' preset included with Clean 2, which intentionally only removed medium-sized discolorations and blotches while preserving major facial features and tiny but important skin texture.

Artistic Detail Flattening
Intentional artistic over-application of Topaz Clean 2's innovative smoothing function can create an image that pops right off the page. Clean 2 preserves the contours and overall image integrity while optimally removing the less-desired details. This specific image combined Topaz Clean 2's detail removal function and Topaz Simplify's edge sketch enhancement.

16 Bit Support, PSCS4 Compatible, Smart Filter, Multi-Core Optimized.

OS: Windows XP / Vista / Windows 7

Free Download Topaz Clean 

Buy Download Topaz Clean

Powerful Retouch/ masking tool Portraiture

 
Portraiture features a powerful masking tool that enables selective smoothening only in the skin tone areas of the image. What makes Portraiture’s masking tool truly unique is its built-in Auto-Mask feature. It helps you quickly discover most of the skin tone range of the image automatically and, if preferred, you can manually fine-tune it to ensure optimal results, providing unmatched precision and productivity.
For finer control, you can specify the smoothening degree for different detail sizes and adjust the sharpness, softness, warmth, brightness and contrast.
Portraiture comes with pre-defined presets for one-click effects and, as with all Imagenomic plug-ins, you can capture your own signature workflow in a custom preset tailored to your specific requirements and photographic portfolio. 
Portraiture is a Photoshop, Lightroom and Aperture plugin that eliminates the tedious manual labor of selective masking and pixel-by- pixel treatments to help you achieve excellence in portrait retouching. It intelligently smoothens and removes imperfections while preserving skin texture and other important portrait details such as hair, eyebrows, eyelashes etc.

 DETAIL SMOOTHING
Portraiture smooths and softens an image by removing artifacts while preserving skin texture and other important image details such as hair, eyebrows, eyelashes etc. To achieve the desired result, you can adjust the smoothing degree for different detail sizes - fine, medium and large.

Additionally with the "Portrait Size" parameter Portraiture adjusts the smoothing parameters to achieve the most visually compelling result for different portrait sizes.
SKIN TONES MASK

Portraiture provides a powerful skin tone masking tool with an Auto-Mask feature to allow for fine smoothening control across all skin tones present in the subject image. Auto-Mask recognizes the skin tone range of the image automatically and, accordingly, creates an optimal skin tones mask for that particular image.

Auto-Mask provides an excellent starting point for manually fine-tuning the automatic results, if desired. With many available slider controls and the two Color Picker tools, you can further fine-tune the Auto-Mask results to create the most optimal skin tones mask for your image and for your portfolio requirements.

Auto-mask is also very useful when batch processing. Because it creates the masks automatically based on the image's unique skin tone range, each image will be treated individually during the batch process, thus enabling an efficient workflow technique when choosing to apply detail smoothening only to skin tones for a large number of images.

Additionally, Portraiture allows for outputting only the masked range of the image to enable further adjustments to the skin areas.
ENHANCEMENTS
Portraiture provides several controls to further enhance your portraits. You can adjust the sharpness, warmth, brightness and contrast, as well as soften to produce a glamour effect.
The combination of brightness and contrast controls allow for adjusting the brightness and contrast without over blowing highlights or over darkening the shadows.
The warmth control adjusts the skin color saturation to emulate different skin tones from pale to dark
Portraiture Plug-in (info)

Portraiture Plug-in for Adobe Photoshop and Adobe Photoshop Elements

Requirements: Windows XP/Vista/Windows 7, 1GB RAM, 100MB HDD, 1280x800 min resolution, Photoshop CS3/CS41/CS51 or Elements 6/7/8

Requirements: Mac OS X 10.5.x/10.6.x (Intel only)2, 1GB RAM, 100MB HDD, 1280x800 min resolution, Photoshop CS3/CS4/CS5 or Elements 6/8 Previous version (v.2.1) for Photoshop CS2/CS3/CS4 Elements 4/6 Mac OS X 10.4.x/10.5.x Intel/PowerPC can be downloaded here
Portraiture Plug-in for Adobe Photoshop Lightroom

Requirements: Windows XP/Vista/Windows 7, 1GB RAM, 100MB HDD, 1280x800 min resolution, Adobe Photoshop Lightroom 2

 Requirements: Mac OS X 10.4.x/10.5.x/10.6.x (Intel only)2, 1GB RAM, 100MB HDD, 1280x800 min resolution, Adobe Photoshop Lightroom 2
Portraiture Plug-in for Apple Aperture

Requirements: Mac OS X 10.5.x/10.6.x (Intel only)2, 2GB RAM, 100MB HDD, 1280x800 min resolution, Aperture 2.1 or Aperture 3 (both 32bit and 64bit modes)
Previous version (v.2.1) for Aperture 2.1.x Mac OS X 10.4.x/10.5.x Intel/PowerPC can be downloaded here

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Monday, July 26, 2010

How to Removing noise and grain from digital photographs

Noise Ninja is the most effective and productive solution for removing noise and grain from digital photographs and scanned film images. It is a must-have tool for anyone shooting in low-light or fast-action situations -- including news, sports, wedding, and event coverage -- where high ISO photography is required and the resulting noise compromises the image.
Noise Ninja often yields a two-stop improvement in effective image quality, while preserving important image detail. In addition, it can produce cleaner, smoother enlargements from low-ISO images. 
Noise Ninja plug-in for Photoshop
The plug-in version of Noise Ninja works as a convenient filter directly from within Photoshop, and it can be used in Photoshop actions. We strongly recommend this version if your workflow includes Photoshop, because it eliminates the need to shuttle intermediate files between Photoshop and Noise Ninja. Click on the appropriate link for download and installation instructions:

Noise Ninja plug-in for Aperture
If you use Apple's Aperture image editor, this version allows you to use Noise Ninja as a plug-in, without leaving the Aperture environment. Click here for download and installation instructions.
Noise Ninja standalone application
The standalone version of Noise Ninja reads and displays TIFF and JPEG images, filters them, and writes the result as a TIFF or JPEG. It includes a batch processor that can automatically process an entire directory of images. It can be used as an external editor for applications like Adobe Lightroom, and it includes a Sidekick mode that can process images from Lightroom without user interaction. Click on the appropriate link for download and installation instructions:
Camera and scanner profiles
Click here for a list of noise profiles for specific camera and scanner models. It is easy to create your own profiles; see the User Guide for details.

Profiling chart
The profiling chart allows you to build your own profiles. Profiling is easy and only takes a few minutes -- see the documentation for instructions. Click here to download the profiling chart as a JPEG file.

See Video Tutorials Now.
Look here for Noise Ninja videos to help you get started and get the most out of Noise Ninja.
Noise Profiles
Look here for noise profiles for your camera or scanner. It is easy to create your own profiles; see the User Guide for details.
CD-ROM versions of the software
You can order CD-ROM with the latest software on it (both pre-release and official release) on the Purchase page.

Saving on lighting equipment Photomatix


Saving on lighting equipment
No need to acquire expensive lighting equipment -and carry it- when you shoot high contrast scenes. Just enable the Auto Exposure Bracketing feature of your camera, and let Photomatix merge your photos into an image with extended dynamic range.
Great pictures on cloudy days
Shadowless hazy sunlight or an overcast sky usually results in dull-looking photographs. The tone mapping tool of Photomatix can turn them into great-looking images. Check this image as example.
Saving time in post-processing
Photomatix Pro is designed for productivity -- automatic blending, unlimited stacking, easy comparison of results and batch processing save hours of masking and layers work in image editing programs.
Well exposed panoramas
A panoramic scene is almost always a high contrast scene -- you can't limit your view to areas with the same brightness when shooting a 360° panorama. By taking views under several exposures and processing them in Photomatix Pro, you can create a panorama that will show details in both the dark and bright areas of the scene. Photomatix Pro offers both exposure fusion (also knows as exposure blending) and HDR tone mapping.

View samples in the User Gallery
Get started with introduction video tutorial
Download a free trial version
Pass: sytry

http://hotfile.com/dl/57564789/f28c57d/photomatrix_pro_v3.2.6.Final.rar.html

Sunday, July 25, 2010

HOW TO BLEND TWO PHOTOS TOGETHER WITH A LAYER MASK

You can create very dramatic effects using a layer mask to blend one photograph into another. For example, you can blend a photograph of a wedding couple into a photo of the bride’s bouquet. You can
also create comical effects with this technique if, for example, you blend a photo of a potato with a photo of a person lying on a couch. You can start by blending with a gradient on the mask and touch it up with a brush or simply brush on the mask. As you paint with black on a white layer mask, the top image becomes visible. If you paint away too much, simply reverse the colors and paint with white.
This technique is especially effective using a pen tablet. By setting the painting brush to respond to pen pressure, you can easily control how much of the image you reveal with each brush stroke.

Step1. With the two photographs you want to blend open, click the Move tool.
Step2. Click and drag the photo you want to blend on top of thephoto you want for the base.Optionally, you can click anddrag the top image layer to adjust the position on the base image if necessary.
Note: If the images are the same size and resolution, the top image will hide the base image.
Step3. Click here to set the default colors so that the Foreground color is black.
Step4. Click the Layer Mask button.
A white layer mask appears inthe Layers palette.
Step5. Click the Gradient tool and selecta gradient style from the Options bar.
Step6. Click the layer mask to select it.
Step7. Click and drag in the image to apply the gradient to the mask.
Note: You may need to click and drag several times to get the effect that you want.

The two images blend together.
Step8. Click the Brush tool.
Step9. Select a large soft-edge brush from the Brush drop-down palette.
Step10. Paint in the image using black to touch upthe mask and revealmore of the background photo.

Step11.Click here to reverse the foreground and background colors.
Step12. Paint with white to fill in areas where you have painted away too much of the base image.
The white paint strokes bring some edge details of the base image back, making
the top image appear to blend into the base image.

Friday, July 23, 2010

How To Create a simple logo in photoshop


Designing or creating a logo can sometime be extremely stressful if you let it get to you. When it comes to the creation of logo’s many designers like to sketch them out then bring them into illustrator and finish the job. Well We’re going to do things a bit different today. I know there are many designers out there wondering how they can create a logo in photoshop. Today we’re going to be using are creative minds and create a simple and fast logo in photoshop. No Sketching, enjoy.

Step 1.Create a new document 1000px x 72px. Background color:#0096ff.

Step 2.Select the blur brush tool color:#61beff and create a circle blur above our background layer. You should have glow look if done correctly.

Step3.Select the type tool size:200px, Text:Airstream, color:#ffffff, and create the word Eclipse. Then go to Window>>Character and change to settings below.

Step4.Duplicate the text layer and change the color to #000000. Then move text downward left to give it that eclipse look.

Step5.Now this is where the neatness comes in or shall I say the great effect of out logo. Select the black text layer and change the color from black to #61beff. Text should now blend in with background.

Step6.Select the type tool size:30px, Text:Airstream, color:#fff, and create the word Solar. Then add the word to the top upper left of the Eclipse text.

Step7.Select the rounded rectangle tool color:#fffff and create a circle.

Duplicate the layer and change the circle color to #61beff. Move it down leftward. Click image below to enlarge!

You are now done! I know this tutorial was quite simple but you should have an basic understanding of how creating a logo.


Beyond This tutorial
If you would like there are many things you could do with this logo or any logo you create. I just change the backgrounds and dropped the shadow on some but there were a ton of other things I could of done with this. So be creative and don’t just settle for your first idea.

HOW TO COLORIZE A BLACK-AND-WHITE IN PHOTOSHOP

COLORIZE A BLACK-AND-WHITE photo with AKVIS Coloriage

You can add color to a grayscale or Black white photo in Photoshop using adjustment layers, masks, and brushes; however, the Coloriage plug-in from AKVIS makes colorizing a black-and-white photograph quick and automatic. You can even use Coloriage to replace the colors in a color image. You can quickly add color to
a variety of images from antique photos to hand-drawn sketches and cartoons and still maintain a very natural look.
You can colorize an image with Coloriage by clicking different colors from the Colors palette or Library and painting the colors over the areas with loose brush strokes. When you press the green forward button, the software determines the borders of the various colored areas and applies the color based on the grayscale values.Your image must be in RGB mode. Click Image and Mode from the menu and click RGB. Then select AKVIS Coloriage from the Photoshop filters. You can select the colors from the Colors palette or use the Color Library
for difficult colors such as skin, hair, and lips. You can find Coloriagealong with other AKVIS filters at http://akvis.com./

Step1. Click and drag the background layer over the New Layer button to duplicate it.
Step2. Click Filter.
Step3. Click AKVIS.
Step4. Click Coloriage. 

The Coloriage dialog box appears, displaying your image at 100% in the Preview window.
Step5. Click here and drag to reduce or enlarge your preview.
Step6. Click here to select the first color, depending on the area.
Step7. Click here and drag to select the Pencil tool size to draw in the image.
Step8. Click and drag to draw in the image with the first color.


Step9. Repeat steps 6 to 8 to set all the colors to be used.
Step10. Click the Eraser tool.
Steo11.Click and drag to correct any stray marks.
Step12.Click the Run button to see a preliminary colorization.
*AKVIS determines the blends, and the colorized image appears in the After tab.
Step13. Click the Before tab and repeat steps 6 to 11 to change any colors as needed.
Step14. Click the Run button again to view the corrections.
Step15. Click the Apply button. The final colorization is applied to the image.


Note: If the colors are too vibrant in the Background copy layer, lower the opacity of the layer slightly.

How to Changing the background with cpac imaging pro



How to change the background
Step1. In the Adjustments menu, click Change Background.
Step2. If it is one tone background, choose the Magic Wand tool and click on the background areas.

The program will select the background of the same tone, or you can adjust the Magic Wand slider to select areas that have close tone. To select more areas, hold down the Shift key, while clicking on other areas of the background to make selection.

Stap3. Select the Hair Selection tool. Paint over the hair edge adjacent to the background area, as well as the loose strands that you want to keep in the photo. The painted areas will be highlighted in red.
If there are green areas that are not parts of the hair line, use the Selection Eraser tool to rub out the green areas.
Next step is to extract the portrait from the background. The areas that are highlighted in red are the hair line that will not be extracted. The green areas represents the portrait edges. The blue areas are the body/clothing parts that will not be extracted. Other areas that are not highlighted will be extracted.
Check if there is any other area that you want to make adjustment, then click the Extract button on the right setting bar. The program will extract the background automatically. You can change the Hair, and Edge settings if there is still some background left or the extracted areas go beyond the hair line. After adjusting the settings, click Extract again.

Step4. Click Go to Change Background Step on the right setting bar, the Select Background dialog box will appear.

Choose the desired background category and an background image, then click Select. The program will add the selected background to the picture.

Stpe5. You can make furthur adjustment to the portrait edge by using the Edge and Hair setting sliders. High values result in eliminating more hair areas, then click the Extract button again.


From the above sample, the low Hair value results in less hair area eliminated.
Step6. You can use the following tools to make over the incomplete areas:
History Brush is used to go back to the original state by applying the brush over the desired areas.
Eraser tool is used to rub out the portrait area from the background.
Cut tool is used to remove the selected portrait area
Blend with Background Brushis used to paint colors over the portrait edges and background.
Free Transform is used to change the position and size of the background.


You can also use the manu on the right to edit the background.








They are:
Chnage Background to choose a new background.
Levels to adjust light levels for the background or the portrait.
Hue/Saturation to adjust tone, change hue, or increase and decrease the saturation levels of the background.
Blur Background to make the background look softer.


Step7. Click OK to confirm background change.
Step8. In case it is difficult to disguise between the portrait area and the background area, you can manually write the foreground border line.

Using Selection Line tool, click on one side to start and left click to form a line along shirt and hair edge. For shirt, click on exact points while you can just roughly point on the hair. Right click at the other side of the picture to stop the borderlining.
Use the Hair Selection tool to draw along the hair line.

Next, use the Fill Selection tool to click in the portrait area.

Click the Extract button to change the background.


When complete,you can continue by going back to start at step 4.